Modern Spanish Lyrics | Page 2

(1805-1849)?"Sé más feliz que yo"?ESPRONCEDA (JOSé DE) (1808-1842)?Canción del pirata?á la patria?ZORRILLA (JOSé) (1817-1893)?Oriental?Indecisión?La fuente?á buen juez, mejor testigo?TRUEBA (ANTONIO DE) (1821-1889)?Cantos de pájaro?La perejilera?SELGAS (JOSé) (1821-1882)?La modestia?ALARCóN (PEDRO ANTONIO DE) (1833-1891)?El Mont-Blanc?El secreto?BéCQUER (GUSTAVO A.) (1836-1870)?Rimas: II
VII?LIII?LXXIII page vii QUEROL (VINCENTE WENCESLAO) (1836-1889)?En Noche-Buena?CAMPOAMOR (RAMóN DE) (1817-1901)?Proximidad del bien??Quién supiera escribir!?El mayor castigo?Nú?EZ DE ARCE (GASPAR) (1834-1903)??Excelsior!?Tristezas??Sursum Corda!?PALACIO (MANUEL DEL) (1832-1895)?Amor oculto?BARTRINA (JOAQUíN MARíA) (1850-1880)?Arabescos?REINA (MANUEL) (1860-)?La poesía
ARGENTINA
ECHEVERRíA (O. ESTEBAN) (1805-1851)?Canción de Elvira?ANDRADE (OLEGARIO VICTOR) (1838-1882)?Atlántida?Prometeo?OBLIGADO (RAFAEL) (1852-)?En la ribera
COLOMBIA
ORTIZ (JOSé JOAQUíN) (1814-1892)?Colombia y Espa?a?CARO (JOSé EUSEBIO) (1817-1853)?El ciprés?MARROQUíN (JOSé MANUEL) (1827-)?Los cazadores y la perrilla?CARO (MIGUEL ANTONIO) (1843-1909)?Vuelta á la patria page viii ARRIETA (DIóGENES A.) (1848-)?En la tumba de mi hijo?GUTIéRREZ PONCE (IGNACIO) (1850-)?Dolora?GARAVITO A. (JOSé MARíA) (1860-)?Volveré ma?ana
CUBA
HEREDIA (JOSé MARíA) (1803-1839)?En el teocalli de Cholula?El Niágara?"PLáCIDO" (GABRIEL DE LA CONCEPCIóN VALDéS) (1809-1844)?Plegaria á Dios?AVELLANEDA (GERTRUDIS GóMEZ DE) (1814-1873)?á Wáshington?Al partir
ECUADOR
OLMEDO (JOSé JOAQUíN) (1780-1847)?La victoria de Junín
MéXICO
PESADO (JOSé JOAQUíN DE) (1801-1861)?Serenata?CALDERóN (FERNANDO) (1809-1845)?La rosa marchita?ACU?A (MANUEL) (1849-1873)?Nocturno: á Rosario?PEZA (JUAN DE DIOS) (1852-1910)?Reír llorando?Fusiles y mu?ecas
NICARAGUA
DARíO (RUBéN) (1864-)?á Roosevelt
page ix VENEZUELA
BELLO (ANDRéS) (1781-1865)?á la victoria de Bailén?La agricultura de la zona tórrida?PéREZ BONALDE (JUAN ANTONIO) (1846-1892)?Vuelta á la patria?MARTíN DE LA GUARDIA (HERACLIO) (1830-)?Ultima ilusión
CANCIONES
La carcelera?Riverana?La cachucha?La valenciana?Canción devota?La jota gallega?El trágala?Himno de Riego?Himno nacional de México?Himno nacional de Cuba
NOTES
VOCABULARY[a]
[Transcriber's note a: The vocabulary section has?not been submitted for transcription.}
INTRODUCTION page xi
I
SPANISH LYRIC POETRY TO 1800
It has been observed that epic poetry, which is collective?and objective in its nature, always reaches its full?development in a nation sooner than lyric poetry, which is?individual and subjective. Such is certainly the case in?Spain. Numerous popular epics of much merit existed there?in the Middle Ages.[1] Of a popular lyric there are few?traces in the same period; and the Castilian lyric as an?art-form reached its height in the sixteenth, and again in?the nineteenth, centuries. It is necessary always to bear?in mind the distinction between the mysterious product?called popular poetry, which is continually being created?but seldom finds its way into the annals of literature,?and artistic poetry. The chronicler of the Spanish lyric?is concerned with the latter almost exclusively, though he?will have occasion to mention the former not infrequently?as the basis of some of the best artificial creations.
[Footnote 1: The popular epics were written in assonating?lines of variable length. There were also numerous monkish?narrative poems _(mester de clere?ia)_ in stanzas of four?Alexandrine lines each, all riming _(cuaderna vía)_.]
If one were to enumerate ab origine the lyric?productions of the Iberian Peninsula he might begin?with the vague references of Strabo to the songs of its?primitive inhabitants, and then pass on to Latin page xii poets of Spanish birth, such as Seneca, Lucan and Martial.?The later Spaniards who wrote Christian poetry in Latin,?as Juvencus and Prudentius, might then be considered. But?in order not to embrace many diverse subjects foreign?to the contents of this collection, we must confine our?inquiry to lyric production in the language of Castile,?which became the dominating tongue of the Kingdom of?Spain.
Such a restriction excludes, of course, the Arabic lyric,?a highly artificial poetry produced abundantly by the?Moors during their occupation of the south of Spain; it?excludes also the philosophical and religious poetry of?the Spanish Jews, by no means despicable in thought or?form. Catalan poetry, once written in the Proven?al manner?and of late happily revived, also lies outside our field.
Even the Galician poetry, which flourished so freely under?the external stimulus of the Proven?al troubadours, can be?included only with regard to its influence upon Castilian.?The Galician dialect, spoken in the northwest corner of?the Peninsula, developed earlier than the Castilian of the?central region, and it was adopted by poets in other parts?for lyric verse. Alfonso X of Castile (reigned 1252-1284)?could write prose in Castilian, but he must needs employ?Galician for his _Cantigas de Santa María_. The Portuguese?nobles, with King Diniz (reigned 1279-1325) at their head,?filled the idle hours of their bloody and passionate lives?by composing strangely abstract, conventional poems of?love and religion in the manner of the Proven?al _canso,?dansa, balada_ and pastorela, which had had such a?luxuriant growth in Southern France in the eleventh and?twelfth centuries. A highly elaborated metrical system?mainly distinguishes these writers, but some of page xiii their work catches a pleasing lilt which is supposed?to represent the imitation of songs of the people. The?popular element in the Galician productions is slight, but?it was to bear important fruit later, for its spirit is?that of the serranas of Ruiz and Santillana, and of?villancicos and eclogues in the sixteenth century.
It was probably in the neighborhood of 1350 that lyrics?began to be written in Castilian by the cultured classes?of Leon and Castile, who had previously thought Galician?the only proper tongue for that use, but the influence of?the Galician school persisted long after. The first real?lyric in Castilian is its offspring. This is the anonymous?_Razón feyta d'amor_ or Aventura amorosa (probably?thirteenth century), a dainty story of the meeting of two?lovers.